Figure
ca. 1765 (made)
Artist/Maker | |
Place of origin |
The earliest porcelain figures were made for the dessert course of grand dinners and replaced the sugar paste and wax figures made since medieval times for royal feasts. Originally intended as expressions of dynastic power and to celebrate political allegiances, allegorical themes had been introduced into these table settings by the 16th century. By the 18th century many were entirely decorative.
The convention for depicting the Four Continents as female figures was used as early as the Counter-Reformation to symbolise the worldwide spread of Catholic Christendom. The figures were given wider appeal through their inclusion in the Iconologia of Cesare Ripa, an illustrated book of emblems widely used by artists from the early 17th century. ‘Africa’ was conventionally depicted as a black woman with ‘frizl’d Hair; an Elephant’s Head for her Crest; a Necklace of Coral; and Pendents [sic] of the same, at her Ears; a Scorpion in her right Hand, and a Cornucopia, with Ears of Corn, in her left; a fierce Lion by her, on one Side, and a Viper and Serpent on the other.’
The convention for depicting the Four Continents as female figures was used as early as the Counter-Reformation to symbolise the worldwide spread of Catholic Christendom. The figures were given wider appeal through their inclusion in the Iconologia of Cesare Ripa, an illustrated book of emblems widely used by artists from the early 17th century. ‘Africa’ was conventionally depicted as a black woman with ‘frizl’d Hair; an Elephant’s Head for her Crest; a Necklace of Coral; and Pendents [sic] of the same, at her Ears; a Scorpion in her right Hand, and a Cornucopia, with Ears of Corn, in her left; a fierce Lion by her, on one Side, and a Viper and Serpent on the other.’
Object details
Categories | |
Object type | |
Materials and techniques | Soft-paste porcelain painted in enamels |
Brief description | Figure, in soft-paste porcelain painted in enamels, of a standing black woman with a lion at her feet, symbolising Africa, Bow Porcelain Factory, Bow, ca. 1765. |
Physical description | Figure in soft-paste porcelain painted with enamels of a standing black woman, symbolising Africa, her right hand raised, with lion at her feet. Figure stands on a high openwork base with four scrolled supports. At the back is a flowering bush. |
Dimensions |
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Credit line | Bequeathed by Herbert Allen |
Object history | From a set of the Four Continents |
Subjects depicted | |
Place depicted | |
Summary | The earliest porcelain figures were made for the dessert course of grand dinners and replaced the sugar paste and wax figures made since medieval times for royal feasts. Originally intended as expressions of dynastic power and to celebrate political allegiances, allegorical themes had been introduced into these table settings by the 16th century. By the 18th century many were entirely decorative. The convention for depicting the Four Continents as female figures was used as early as the Counter-Reformation to symbolise the worldwide spread of Catholic Christendom. The figures were given wider appeal through their inclusion in the Iconologia of Cesare Ripa, an illustrated book of emblems widely used by artists from the early 17th century. ‘Africa’ was conventionally depicted as a black woman with ‘frizl’d Hair; an Elephant’s Head for her Crest; a Necklace of Coral; and Pendents [sic] of the same, at her Ears; a Scorpion in her right Hand, and a Cornucopia, with Ears of Corn, in her left; a fierce Lion by her, on one Side, and a Viper and Serpent on the other.’ |
Bibliographic reference | Anton Gabszewicz, Bow Porcelain: the Collection formed by Geoffrey Freeman. (1982), cat. 239 |
Collection | |
Accession number | C.174A-1935 |
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Record created | April 26, 2006 |
Record URL |
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